Theatre Design & Technology - Fall 1975 - 18

The interior of the theatre was meant to accommodate
both large audiences and large performing companies. The
spacious auditorium carries the qualities of the exterior
design indoors. Materials for walls, ceiling and seats were
carefully selected for their natural colors as well as their
acoustical properties so that there is no unnecessary visual
stimulation to detract from the "park" concept (see Front
Cover).
The stage area is 58 feet wide by 60 feet deep. The
proscenium arch is 30 feet high with adjustable side panels
which allow a 40-56 foot spread width. Side stages remain
as a vestige of the pageant theatre concept. Wing space is
limited: 20 feet is available stage right but with restricted
height; 20 feet is also available stage left with considerably
more height. The 80 foot high grid supports a 106 set
double-purchase counterweight fly system. For musical
presentations, an orchestra pit accommodating 120
musicians was installed and an acoustic concert shell is
available (see Figures 11 and 12).
Artpark's technical facilities are almost extravagant for
its purposes. A 200 channel Centruy Strand "DDM"
memory system, at the time one of only four such
installations in the world, is the "jewel within the jewel."
The theatre's three channel sound system provides music
and voice reinforcement and recording facilities inside the
theatre while a sound-delay system functions for the
seating lawn. Support spaces backstage are limited to
offices for the Artpark administrative staff and a few
other niceties necessary to a road house.

of George Bernard Shaw, they knew what they wanted.
The result was a building not only striking in its
architecture but eminently usable by the entire Festival
staff.
The problems at Artpark seem to be the result of a lack
of coordination. This architect had to deal with political
bureaucracy. Since Artpark was always a fl uid concept,
the only available input was the dream of local political
leaders bent on erecting a temple to all the arts which
would receive international attention. The midstream
switch in basic concept for the theatre emphasizes the fact
that the State was not sure what it wanted. The result,
through no one person's fault, is a visually pleasing but
functionally problematic new theatre.
The Shaw Festival, as a private business organization,
had to fund its new theatre from its own resources and
from a special Building Fund Drive. By carefully watching
expenses, they kept the cost to just over $3 million. The
returns were immediate. Because of its established
reputation, the Festival played to 97% capacity during the
first season in its new home. Because the theatre is an
all-weather structure, it functions year-round for the
community. Classes for young people in theatre and dance
are given. Many Canadian performing groups have put the
theatre to use in winter. Some of the invisible barriers
between the Festival and the town have fallen as a result.
The New York State Department of Parks and
Recreation had the resources of the public at its
command. Artpark is, as yet, without celebrity, although
it intends to house the Bolshoi Ballet during its second
season. It is not meant to be a profit-making enterprise.
Yet the fact remains that a $7.2 million complex hosted
audiences which became engulfed in its vastness during
the first season. The theatre stands idle seven months of
the year because the only heated spaces are for the
protection of the electronic dimming systems. Artpark
must still build its reputation.
While Artpark is certainly an adequate performance
space, it does suffer by comparison with the Shaw
Theatre. Perhaps the "edifice complex" rampant in
theatre architecture in the sixties is still with us. It remains
to be seen whether the Taj Mahal mentality which
produces such self-glorifying theatres as Artpark will ever
give way to the more utilitarian approach which is
responsible for the efficacious Shaw Festival Theatre. _

DATA SHEET

16

Fig. 10 - Public Approach to Artpark Theatre

for The Shaw Festival Theatre

Underscoring the differences in design, concept and
purpose between the two theatres is the difference in the
relative function of each of them. The personnel who
inhabit and use the Shaw Festival Theatre are quite happy
about their new facility and tend to tell visitors how
wonderfully conceived and built their theatre is. However,
the technical staff for the first season at Artpark seemed
quite disappointed with their theatre and were quite
willing to spend an afternoon pointing out its deficiencies.

Architects: R.J. Thom Partnership
Mechanical Consultant: R.E. Crossey and Associates Limited
Electrical Consultant: Jack Chisvin and Associates Limited
Structural Consultant: M.S. Yolles Associates Limited
Acoustics Consultant: Professor V.L. Henderson
Theatrical Consultant: Andis A. Celms
Landscape Architect: van der Meulen Zohar and Associates
Limited
General Contractors: Stewart and H inan Construction Limited

The success at the Shaw Festival Theatre seems to be
attributed to excellent coordination in the initial planning. The architect spent much time listening to the
recommendations of its permanent staff on the spatial
need of their new playhouse. Everyone, including the
carpenters and seamstresses, had input in terms of their
spatial requirements. Since the staff is expert in the theatre

Architects: Vollmer Associates, Russell C. Childs, AlA, Partner-incharge
Structural Engineers: Vollmer Associates
Mechanical Engineers: Goldman and Sokolow
Theatre Natural Acoustics: Paul S. Veneklasen and Associates
Sound Reinforcement: Ranger Farrell and Associates
lighting, Stage and Backstage: Robert Brannigan Associates
General Contractor: Wright and Kremers Incorporated

for Artpark Theatre

uSln

THEATRE DESIGN AND TECHNOLOGY

FALL,1975



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1975

Contents
Theatre Design & Technology - Fall 1975 - 1
Theatre Design & Technology - Fall 1975 - 2
Theatre Design & Technology - Fall 1975 - 3
Theatre Design & Technology - Fall 1975 - Contents
Theatre Design & Technology - Fall 1975 - 5
Theatre Design & Technology - Fall 1975 - 6
Theatre Design & Technology - Fall 1975 - 7
Theatre Design & Technology - Fall 1975 - 8
Theatre Design & Technology - Fall 1975 - 9
Theatre Design & Technology - Fall 1975 - 10
Theatre Design & Technology - Fall 1975 - 11
Theatre Design & Technology - Fall 1975 - 12
Theatre Design & Technology - Fall 1975 - 13
Theatre Design & Technology - Fall 1975 - 14
Theatre Design & Technology - Fall 1975 - 15
Theatre Design & Technology - Fall 1975 - 16
Theatre Design & Technology - Fall 1975 - 17
Theatre Design & Technology - Fall 1975 - 18
Theatre Design & Technology - Fall 1975 - 19
Theatre Design & Technology - Fall 1975 - 20
Theatre Design & Technology - Fall 1975 - 21
Theatre Design & Technology - Fall 1975 - 22
Theatre Design & Technology - Fall 1975 - 23
Theatre Design & Technology - Fall 1975 - 24
Theatre Design & Technology - Fall 1975 - 25
Theatre Design & Technology - Fall 1975 - 26
Theatre Design & Technology - Fall 1975 - 27
Theatre Design & Technology - Fall 1975 - 28
Theatre Design & Technology - Fall 1975 - 29
Theatre Design & Technology - Fall 1975 - 30
Theatre Design & Technology - Fall 1975 - 31
Theatre Design & Technology - Fall 1975 - 32
Theatre Design & Technology - Fall 1975 - 33
Theatre Design & Technology - Fall 1975 - 34
Theatre Design & Technology - Fall 1975 - 35
Theatre Design & Technology - Fall 1975 - 36
Theatre Design & Technology - Fall 1975 - 37
Theatre Design & Technology - Fall 1975 - 38
Theatre Design & Technology - Fall 1975 - 39
Theatre Design & Technology - Fall 1975 - 40
Theatre Design & Technology - Fall 1975 - 41
Theatre Design & Technology - Fall 1975 - 42
Theatre Design & Technology - Fall 1975 - 43
Theatre Design & Technology - Fall 1975 - 44
Theatre Design & Technology - Fall 1975 - 45
Theatre Design & Technology - Fall 1975 - 46
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